1) The Lodger got to the heart of the matter--the body very quickly, and the repetition of Golden Curls tonight, while Frenzy had a very grand sight seeing intensive trip which showcased London on a grand scale before getting to a crowd of people who are gathered to listen to a speech and then the body washes up nearby. The reactions are similar, however the body that washed up in Frenzy is naked which adds a bit more of a reaction.
2) The tour of London putting Hitchcock back in his familiar territory and all seems well and normal...until a dead woman washes up who happens to be naked. Situations only get worse from here we as an audience already know this. And of course with a dead body comes a huge crowd that are witnesses just like Lodger and some of his other works.
3) We are taken deep into cities, events, spectacles, locations, etc. and are shown the dark sides to them. The speech taking place in Frenzy could've remained a speech but a dead body had to show up. London isn't at all what it seems. Someone or something is lurking in the shadows and why choose to come to the light now? Hitchcock always knows when to put his foot on the gas, and towards the end if we are lucky he taps the brake.

1) Marnie is a very expensive soul that likes going incognito. She owns expensive luggage, purses, etc. Also she has different forms of social security cards which she can essentially use at her own free will, and the scene in which she removes the dye from her hair is extremely pivotal to the concept on taking on other identities or personalities to cover up for criminal activities perhaps?
2) The score adds an element of mystery to the otherwise silent scene. Considering Marnie is silent during her transformation if you will the score provides us with the doses of emotions we should be feeling. At this exact moment with the changing of the hair color and the many forms of identification there is an undeniable feeling of curiosity and intrigue to what exactly Marnie does for a living or what is the significance of her putting on so many identities in her everyday life.
3) His cameo is very direct compared to either walking off frame, or appearing in a newspaper clipping (Lifeboat) however, it is also important because we see his face before we actually see Marnie's. It's almost a joke in the essence that his reaction of Marnie is almost more important than the actual reveal of Marnie herself, etc.

1) The beginning of the film is very light-hearted and almost whimsical from Hitchcock's cameo with the two dogs on the leashes to Mitch's request for love birds and the assumption that Melanie works for the pet store, etc. The film's beginning is very romantic comedy(esque) except for the clouds of birds flying about out in the open sky and their cawing and noise flooding in and out of the scene. Something menacing is coming this way in the only way Hitchcock can foreshadow.
2) The birds outside are quite loud and on the verge of disruptive. Like I mentioned above their are a vast number of them outside and they seem to predominantly gulls. The sheer number of them provides some sort of ambient noise for the outside of the pet shop while inside it is more of a muffled sound--they're not heard as clearly. The birds inside along with the other pets are a bit quieter and Mitch makes an interesting point about the birds in cages not enjoying being in cages...however once they're out of the cages like the gulls outside skies the limit for their brutality and the force in numbers they have when they set their minds to the attack.
3) The cameo with Hitchcock is clever with the dogs exiting the pet shop, and there are two dogs much like the two love birds that Mitch is seeking (and the love bird qualities that will become clearer with Mitch and Melanie) and the dogs see the birds in the skies and become a little more rambunctious as the second one tries to pull away and Hitchcock struggles reeling him in as he walks off frame.

1) The score is abrasive, it's a grater of sorts on the senses. The back of your head like Wes Gehring mentioned during the lecture video throbs. Your head becomes jumbled and adding Saul Bass' titles with the crossing and blurring lines mimic a blurring of what is real and what is not real in an intense world adding the score only escalates the tension that is inevitably impending on the course of the film.
2) By adding the specifics to the shot--FRIDAY DECEMBER ELEVENTH TWO FORTY THREE PM provides a realism. We are with Marion on this fateful day. We are the peeping toms watching Marion fool around with Sam Loomis, and as we continue our journey with Marion Crane we slip deeper into the chaos to come. Also by being so specific some might think that this is a true story of sorts similar to shows and what not today that are extremely formulaic such as The First 48 which is a murder crime reality show where murder cases are investigated within the first 48 hours, etc.
3) Marion Crane is a very rebellious soul by having a scandalous affair with Sam Loomis, and staying away from work where she is currently supposed to be. Loomis is the solution for Crane to act out and rebel from the everyday rules of life and the monotonous routines of everyday life.

1) Cary Grant had the privilege to star in 4 Hitchcock films, and North by Northwest is his last film. Grant is perfect for the role as he tries to cover up his identity and prove his innocence to a woman he has just met. When Grant mentions a line about looking vaguely familiar it adds a dose of whimsical humor to the scene followed quickly by Eva Marie Saint quickly revealing his lie, and exposing his true identity thanks to the many photos of him in the papers. Other than her oozing charisma and flair I do not know much about Eva Marie Saint to shed some more light on her own stardom and the impact within the remainder of the scene.
2) Oh the matches! That scene was a great interaction between the two actors, which was a beautiful way for the two characters to share a touch as their fingers brush one another. The letters ROT was an interesting characteristic to me because it almost seems like Roger's original identity has now rotted away into that of a fugitive. However, if Eve didn't already know that he was faking his true identity the matchbook would've given his true identity away knowing that the letters were his initials and unless Roger was quick on his feet to explain ROT's other meaning, etc.
3) The dialogue and the train tracks provide a slight jostling sound effect that adds to Roger's grand escape, and as the scene progresses the score kicks in and the sound adds a romantic connotation to the scene which hints at impending romance between Roger and Eve...

1) The film is a journey down the rabbit hole all because of a woman and the infatuation with her. The music and the circling orbs if you will is extremely reminiscent of a trance and the more you look at the swirling orbs the more disorientating it becomes, and the music almost has a tunnel like effect it seems like the more you listen the more you "fall" into a hypnotic state and your grip on reality becomes lessened.
2) The woman and her lips at the beginning really stays with me, because this is the reason for all of the chaotic spiral into your sanity (or is it insanity?) she holds the key to this man's infatuation as he spirals down with it, and will she help pull him through? Or is she a bad sign and should be avoided? Will there be a shot of the film focusing on her lips as she spews out a line of rejection which then defeats our MC's ego and spirit? The options are endless, and the closeup of the shot definitely suggest some high level of importance.
3) Putting it this way if there was a different score to go along with Bass's work on the opening titles there is no way it would have the same effect of mesmerizing insanity. It would just be random images with even more random strange images associated along with it.

1) The opening of the film makes us the viewer the voyeur. Right from the start we are getting a snapshot into these characters lives all while Jimmy Stewart aka L.B. Jefferies is in a state of unsettling sleep in his wheelchair. The factor that Hitchcock makes the audiences voyeurs from the very beginning is a new experience, some may be uncomfortable while some may be extremely curious.
2) Jefferies is an action photographer and Hitchcock showcases this by showing some of his photos that he has taken starting at a race car crash of sorts in which a broken camera sets on the table in front of that photo--could this be the one shot that caused such harm to our brave photographer? I enjoyed the little tour if you will of some of his work that he was able to capture, and I don't think the scene would've worked as nicely with narration, or dialogue, etc. Hitchcock wanted to let the pictures do the talking, and they as a whole speak volumes.
3) Very interestingly put. To me it walks a fine line, because at first with Jefferies excuse about the man being a murderer I'm like "Oh poor guy the heat is getting to him as he's all cooped up in his apartment" but the more we are peering into the other rooms and seeing the different actions, events, etc. the more I feel like we are meant to see all of this for the bigger picture, we are along for the ride as Jefferies tries to do his best snapshot of all--proving a murderer exists within their small community of expressive neighbors.
4) Absolutely from the set, to the characters individual mannerisms, the peeking in of many different rooms and the subtle and major differences invoked from each person, etc. This film is a true inspiration for any filmmaker or aspiring filmmaker due to the vast artistic scope that Hitchcock was able to obtain.

1) Criss-cross(ing) is very apparent all throughout the opening of this film Strangers on a Train from the obvious shots of the train tracks, to the not as heavily implied. The vehicles near the train station are passing by one another in a crossing motion, the cab reads Diamond and all of the times that I have seen a diamond the light seems to radiate off of the many different faces of each particular cut. The character's bustling movements help showcase other forms of criss-cross due to the factor of Bruno's pant leg being slightly elevated there is a detail about his crossing shoelaces, while Guy has some tennis rackets that are obviously criss-crossed. The two men are at opposite ends of the train station, and cross each other's path to get to their respective seats, in which the two men then bump each others feet, and the scene truly begins.
2) Guy seems to be more closed off, he's currently reading through some papers and dressed more casually. Compared to Bruno who is dressed far more sophisticated and is more personable. Also he has some pretty fancy shoes compared to Guy's simple black shoes, etc.
3) The music is very positive and it gives the reader's a sense of upbeat calm in a busy world such as the everyday hustle at a train station, then there is a moment of tenseness just before Bruno and Guy's interaction.

1) The characters have an air of mystery. The scenario is quite open as it is being housed within one room. Alicia is a well developed character from the opening of this film. It was refreshing to have an opening of a Hitchcock film where it wasn't a crowd spectacle. Just like Mr. and Mrs. Smith the set was confined to one room, and the conflict is closed off to two different people. This was a nice change of pace as one character is inebriated and the other is a sober handsome man. No violence, golden curls, spectators, etc.
2) Hitchcock's use of light in this opening is truly remarkable. We get a sense of delirium from Alicia's angle. The turning over of Devlin with the camera angles making him wobbly and mysterious was truly amazing and inspiring to watch. Devlin is a very handsome man that cares about Alicia's drunken state. The scene was a slight slow burn and just between the interaction of Devlin and Alicia I am quite intrigued about the differences between the two characters: a party girl, and a handsome well dressed gentleman.
3) These roles are different for the respective actors. Cary Grant is apparently most well known for more comedic of roles and this is a rousing drama. While Ingrid Bergman is more well known as a good girl of sorts and in this she plays more of a bad girl/party goer.

1) The room had seen better days to be honest. Robert Montgomery has overtaken the floor of the hotel room, dishes, food, and discarded trash is littered all around. He's sitting cross legged on the floor while Carole Lombard is writhing around in the bed trying to remain asleep. She's more animal like in her second skin consisting of a bed spread. They have been in the room for three days straight and it definitely looks like it. What they are doing exactly is only hinted upon.
2) Yes, I agree with that. We still have sort of a mystery to uncover. Why are these two closed off from the rest of society for three days? Why is the room so messy? And what exactly are they up to and how did it lead to them being so separate? I mean Montgomery's Mr. Smith is camped out on the floor surrounded by garbage, and Mrs. Smith is cowering in the bed not wanting to face the day, etc. The bond between these characters will surely be tested and strengthened or weakened I imagine.
3) I find them to be perfect fits for their respective roles. The chemistry in the opening was quite dynamic, and makes me look forward to viewing this film and seeing if the chemistry lasts and the laughs roll in. I find this to be a very unique step for Hitchcock but one I will undoubtedly enjoy.

1) Uncle Charlie is an exhausted snazzy dressing man. He is quite wealthy at the moment but not secretive about it considering the money just laying out in the open on the floor. He's not very expressive, focused, and quiet. He doesn't make any effort to stand when his land lady comes with a message. He doesn't know who is asking for him, and that's the funny thing he comments on. He doesn't know them but they know him. After she picks up the money and puts it back neater he proceeds to get up and eventually exit the building and walks by two curious men who look at him as he leaves.
2) A few things jump out at me signifying that this is a noir story. The location of such a man is not the best, the darkness of the room especially with the closing of the blind in which Charlie's face intermingles with the shadow, the factor that Charlie is being looked for by two "gentlemen", and his carelessness with a good sum of money, and the end of the scene seemed almost like a hasty get away of sorts like Charlie knew situations would escalate if he didn't try and leave when he still had the chance.
3) The music had an almost urgent quality to it, and the tenseness of the situation being depicted on screen with Charlie's exit, the music rose in intensity. The music in the beginning was just as important and or pivotal to the characters themselves. I have a feeling the music only becomes more important as the movie continues, etc.

1) The opening to Rebecca was much different than the others we have seen thus far because of the extensive voice over compliments of Joan Fontaine's character Mrs. de Winter about Manderley. This was a refreshing opening for Hitchcock because it piques your curiosity about what happened to Manderley and it wasn't opening on a spectacle. There wasn't a crowd, or a screaming woman, or a skier, etc. The camera led you down the winding misty path to the remains of a wealthy looking establishment, and then ultimately introduced us to our characters, and their impending interactions, and ultimately connection.
2) The visuals are quite extensive and they have an air of mystery about them. The mist and the winding path that lead to Manderley is quite alluring, and surprising. The viewer is ultimately transfixed on the significance of the broken down building. What was its significance? Why are we seeing the remains on an ultimately misty night? Is this a result of an accident? Or was it purposely destroyed? After the shots of the building and we are then greeted by Max and Joan Fontaine's character who apparently prevents him from his suicide. Is he guilty of something? When the camera zooms in on him momentarily it gives off the impression that Max is going to be quite dominant throughout the rest of the film.
3) The Manderley is very much a character because of how the opening focuses immensely on the house. The voice over only provides a deeper importance on the events to come. We will eventually learn how this house came to be ruins, and the situations revolving around that are going to be quite important in regards to our characters. Considering Fontaine's voice over taking us to the beginning only to come full circle.

1) The music in the opening scene from The Lady Vanishes paints the inn in a warm and friendly light. The music is cheery, laid back, and somewhat soothing. Until the clock starts making a sound like a horn which seems to showcase events upcoming--important events. In my opinion it sounded almost like a call for battle, or intensity to come in which our heroes may be fired upon. The desk clerk then becomes engrossed in business over the phone, and leading a group of women upstairs. News of the train being delayed is delivered and the commotion from most parties arrives in the wake of the late train.
2) Caldicott and Charters are the comic relief from the very beginning of the film. Through their mannerisms, unique perspectives (sharing a bed, and their sly dialogue), etc. Their views are simple minded and they can't move past the impending cricket match, and the danger that they become affiliated with later on is a close second concern speaking (what remains important though however is if they can still make the match on time. They believe they can while realistically speaking that is a different story.
3) The women are hugely important. Their entrance is extravagant and demanding attention. They know the clerk by his name and start talking with Boris openly, and the other guests are just staring at the women, and Boris who seems like he would do anything possible for the women to make their stay enjoyable. Iris is focused upon through Hitchcock's camera angles. Iris has dark hair which makes her stand out amongst the other less attractive people. She then separates herself from the others as she exchanges private words with Boris in which we learn about the train, and the avalanche. Iris then proceeds to correct Boris's pronunciation of the word avalanche. After Boris accepts the corrections she proceeds to take charge and order the meal for herself and her other woman companions.

1) The opening of The 39 Steps is very reminiscent of Hitchcock's earlier British films due to the spectacle unfolding on a stage. There is a crowd of anxious, and somewhat rambunctious audience members who want to know everything. This part of the opening reminds me quite a bit of The Pleasure Garden, only this time the audience wants to test someone's memory at a music hall instead of watch dancers. However, the very start of the opening with Hannay's identity remaining a secret until about two minutes or so was unique. The panning of the camera showcasing the Music Hall, and seeing only Hannay's back added a bit of mystery and potential danger until it is revealed that Hannay is the least of our troubles, and his are only about to begin as the film progresses.
2) I agree completely with Rothman. Compared to the previous openings in which we are greeted with a dastardly fiend, or a screaming golden curled woman, or a woman stalking an innocent (for the most part) man, we are greeted with a man by the name of Richard Hannay who is the least bit violent, or at that very moment important. As the opening commences we see his face at about the half way mark and he asks his question twice before Mr. Memory even acknowledges him. This Mr. Memory taking the stage at the Music Hall is a very unique experience to say the least and at that moment Hannay blends in with the crowd quite well, I preferred this opening because it provided some freshness to the character which we get to experience properly in the future as the pace quickens with the double chase, etc.
3) The crowd reacts to the introduction of Mr. Memory quite rambunctiously. They are mocking and cracking a lot of jokes that stand out as British humor, although they act this way the audience is quite calm and enjoying themselves before the potentiality for chaos rising. The Hitchcock touch is very much at play in regards to Hannay who becomes overwhelmed when situations arise that are out of his control and element but Hannay has to overcome these respective obstacles to ensure his survival and most importantly to clear his own name.

1) I took a Hitchcock course at KU last semester and our class watched The Man Who Knew Too Much original version but parts of it are slipping my mind. However, the film has a great emphasis on the characters from the very beginning and the plot envelops those characters immediately and we the audience have no choice but to go along for the ride with the dastardly comical in tone character of Abbott (played by Peter Lorre). This film character wise stands out amongst most of Hitchcock's wonderful cast of characters in regards to dialogue, mannerisms, and actions that they engage themselves in.
2) Abbott doesn't seem upset at all about the slight tumble. He's grinning, and chuckling afterwards. Although for a split second once the skier is back on his feet the look on Abbott's face appears almost crestfallen and a moment of silent anger or judgment, and before he walks away with his wife the look changes back to the grin, and the chuckle commences. This scene alone paints him in a great light and without watching any further you don't get the impression that he's going to become a villain.
3) The openings of The Pleasure Garden and The Lodger both have an immense focus on crowds and the spectacles going on and off of stages (The Pleasure Garden--the girls dancing on stage, The Lodger--the crowd around the golden curled hair girl) and in the case of The Man Who Knew Too Much we are back to a spectacle filled scene. The crowd is gathering to watch the skier on the slopes, and his impending wipe out. Hitchcock likes bringing a lot of perspective to his films, and then breaking down that perspective in which we only focused on Abbott, his wife, the skier, the girl and her father. Spectacle down to reasonable measures that are quite gripping to the viewer.